Archive for 2025:

Tubi’s creator slate brings new and returning shows to 100 million monthly active users

Five months after launching a creator-packed content hub, Tubi is rolling out a related slate of original programs. The Fox-owned streaming service is working with six creators — all of whom have seven-digit subscriber counts on YouTube — to produce exclusive shows that are beginning to roll out this month.

The shows included in the Tubi creator slate include a mix of new releases and revived favorites. Notably, Tubi is working with Joey Graceffa to bring a new season of Escape the Night to viewers. Graceffa’s murder mystery got its start on YouTube Red (the subscription service now known as YouTube Premium) and is now set to launch a fifth season that will conclude the star-studded saga.

Family channel Rock Squad is also expanding its existing offerings with a vampire prequel called Bloodsuckers: Origins. Along with Escape the Night, KevOnStage‘s Safe Space, and TheOneShu‘s anthology series Baby Shu & Fwends, Bloodsuckers: Origins is one of four newly announced shows to hit Tubi in November.

Tubi’s other creator-led originals are due out in 2026. Comedy is a primary theme of the slate, with Baby Shu & Fwends, Safe Space, and Bigg Jah‘s L.A.U.G.H. (Life Ain’t Usually Great Here) delivering the yuks. Tubi is also working with some creators who have already found success on the platform. That’s what it did when it included Tubi for Creators favorite Kinigra Deon in a four-film slate

Its latest raft of shows includes names like Dan & Riya, who were also part of the initial Tubi for Creators launch. They are bringing their series Till Drama Do Us Part to Tubi next year.

“We’re responding to our viewers’ growing appetite for bold, original storytelling by doubling down on exclusive content from digital-first creators,” said Tubi GM of Creator Programs and EVP of Business Development Rich Bloom in a statement. “The investment is paying off, viewers who start their Tubi journey with creators show stronger retention – proof that these stories truly resonate with our audience and provide an engaged, incremental audience for creators.”

Bloom, along with other execs like VP of Creator Partnerships Kudzi Chikumbu, is part of Tubi’s concerted effort to break into the creator world. An action-packed programming slate is one way to do that, and the creators who are part of it will get the chance to bring their shows to an audience of 100 million monthly active users.

Top 5 Branded Videos of the Week: MrBeast, MrBeast, and…MrBeast

Welcome to our rundown of the most-watched branded YouTube videos of the week.

We’re publishing this snippet of a larger Gospel Stats Weekly Brand Report in order to analyze sponsorship trends in the creator economy. Any video launched in tandem with an official brand partner is eligible for the ranking.

And – as the name up above would imply – all the data comes from Gospel Stats. If you’re interested in learning more about Gospel – and which brands are sponsoring what creators on YouTube – click here. You can also download our YouTube 2025 Sponsorship Landscape Report here.


Yo dawg, I heard you wanted MrBeast, so we put some MrBeast in your MrBeast and–sorry, is this officially millennial cringe? Probably. Anyway, the point is, MrBeast has not one, not two, but three videos in our top 5 this week, and none of them are on his main channel.

He’s pushing Feastables hard in the leadup to the holiday season, which tracks with what we’re seeing across the rest of this week’s sponsored videos. People are already gearing up for Christmas, in the most commercial way possible.

Check it all out in our latest Gospel Stats Weekly Brand Report, right here:

#1 How Feastables Chocolate is Made
Channel: MrBeast 2
Brand: Feastables
Views: 23,931,666

MrBeast is here to remind us he’s still Willy Wonka, except with more ethical labor practices. This 8-minute video from his secondary channel MrBeast 2 is all about showing off Feastables‘ production pipeline, which starts at cacao farms in Ghana. Farmers who harvest cacao for Feastables are paid a living wage, MrBeast says, and his brand only works with farms that don’t use child labor.

This should be the bare minimum for all brands–but, well. Ensuring ethical production fits with MrBeast’s humanitarian image, and as we go into the holiday season, people are looking for feel-good gifts, so this illustration of Feastables’ ethical standards has a good chance of resonating with consumers shopping for stocking stuffers. It’s also just the first of three Feastables videos from MrBeast this week…

#2 100 Youtubers Vs World’s Deadliest Player
Channel: MrBeast Gaming
Brand: Feastables
Views: 12,887,284

…which tells us he’s probably going to continue pumping the brand over the next couple of months. In the second Feastables video of the week, we head to MrBeast Gaming, where Beast Man gathered 100 YouTubers who try, as one, to defeat Minecraft player-vs-player legend ClownPierce. The Feastables branding isn’t too heavy here, but sharp-eyed viewers will notice contestants are all wearing the chocolate brand’s signature colors.

As for whether ClownPierce manages to defeat his army of opponents and win $50K…we won’t spoil the surprise.

#3 Reinventing the Peanut Butter Cup
Channel: MrBeast 2
Brand: Feastables
Views: 15,619,027

Here’s something different: While MrBeast‘s first two Feastables videos were long-form, this one is a Short. But, like video #1, it’s also talking up Feastables’ production quality–this time breaking down how the company’s chocolatier team formulated its new(ish) addition, the peanut butter cup.

In a not so subtle shot at competitors like Reese’s, MrBeast says other products on the market are filled with “this clumpy thing that doesn’t really taste like peanut butter,” and that his plan was to fill Feastables’ cups with peanut butter straight from a jar. He also wanted a thiccer peanut butter to chocolate ratio. Did he succeed? Guess we’ll see what the general public thinks as sweets sales scale up.

#4 Blue Jays vs. Dodgers World Series Game 3 Highlights (10/27/25) | MLB Highlights
Channel: MLB
Brand: Essilor
Views: 3,762,108

MrBeast has left us. Instead we find ourselves in the clutches of Major League Baseball–and don’t let MrBeast’s early lead fool you, because MLB hits hard this week. It’s responsible for the #4, #5, #8, #9, #15, and #1,647 most-watched sponsored videos this week. Its sponsor for videos #4, 5, 8, 9, and 15 is eyeglass brand Essilor, which has an ongoing partnership with the league that sees it presenting this season of MLB’s long-running morning show MLB Central.

As for video #1,647, it’s sponsored by the United States Navy–and is the Navy’s only sponsored video this week. Military branches recruiting online isn’t new, but relatively little recruiting is. Out of curiosity, we looked for Army sponsored videos and didn’t see any, but the Air Force is calling people in with video #2,927 from DAZN subsidiary Whistle.

BONUS #2,993 HIGH-END DIY *CHRISTMAS DECOR* That LOOKS EXPENSIVE But ISN’T! + CHRISTMAS GIFT IDEAS
Channel: Lisa Burningham
Brand: Lowe’s
Views: 42,524

We’re sorry to do this to you. We know–we know–that it’s only November. Thanksgiving hasn’t even hit yet! But since every brand has apparently decided Christmas consumerism needs to begin now, we thought it fitting that our bonus vid for this week acknowledges that push. We picked this one for (a) its affordable DIY angle, smart considering the financial times we’re in, and (b) its sponsor Lowe’s, which paid for a number of holiday-themed uploads this week.

Those include this one about “INSANE” Black Friday deals and this one about decor. Between them and the video we’ve highlighted above from Lisa Burningham, Lowe’s 2025 holiday strategy is clear: Sponsor creators who tell their viewers how to look cute and buy big, for lower (or should we say Lowe’sr) prices.


…and there’s a lot more data where that came from. If you like our Weekly Top 5, you’ll love everything else Gospel has to offer. Start with our newly released YouTube 2025 Sponsorship Landscape Report, which you can download right here.

 

iHeartMedia and TikTok are going into the creator podcast business together

It’s been a busy week for iHeartMedia.

Amid rumored negotiations with Netflix, the company best known for its radio stations and podcasts is going into business with TikTok. The two companies will team up to launch the TikTok Podcast Network, which could result in up to 25 new shows helmed by creators.

Per The Hollywood Reporter, iHeartMedia and TikTok will establish co-branded facilities in New York, Los Angeles, and Atlanta, where creators will be able to record both audio and video versions of their podcasts. “At TikTok, empowering creativity and connecting communities are at the heart of everything we do,” said TikTok Global Head of Media and Licensing Partnerships Dan Page. “This partnership with iHeartMedia opens up exciting new opportunities for creators and brands to reach wider audiences, collaborate across platforms, and extend their creativity beyond the TikTok platform.”

The partnership looks to leverage the growing popularity of podcasts. In theory, the deal is a win-win-win for all three parties involved.

iHeartMedia is diving headfirst into the creator economy.

The company now known as iHeartMedia has been around for more than 50 years, but it’s not afraid of change — hence its ongoing adoption of podcasts to go along with its array of radio stations. These days, if you want to put a finger on the cultural pulse, working with creators is a great way to do it.

That’s why, for iHeartMedia, the TikTok partnership will extend beyond the upcoming podcasts. A new station called TikTok Radio will pair influencers with on-air personalities while playing songs that have gone viral thanks to their inclusion in short-form trends. Creators are also expected to factor into several of iHeartMedia’s upcoming events, including the iHeartRadio Music Festival and iHeartRadio Jingle Ball.

For creators, the podcast has become the Swiss Army knife of content formats.

Platforms like YouTube and TikTok have encouraged creators to diversify their work across multiple formats. Achieving the recommended breadth is hard work, but podcasts make the multiformat lifestyle much easier to live.

Though the creators who will work with TikTok and iHeartMedia haven’t been revealed, there will assuredly be a lot of influencers angling for that opportunity. As complete shows, podcasts can satisfy demands for high watch time by keeping viewers and listeners engaged for hours at a time. Those programs can also serve background listeners and keep fans entertained year-round.

Short-form clips mined from those long-form episodes can take on a life of their own. Clipping has become such a big business that several notable entrepreneurs, including MrBeast, have launched platforms dedicated to the practice. When you add in the cultural cachet creators can pick up when they interview high-profile guests, the podcast format becomes a no-brainer.

TikTok stars are already getting into podcasts, and the platform is following the money.

A podcast network full of TikTok stars already exists. Call Her Daddy host Alex Cooper made a splash when she rolled out the Unwell Network, a creator-forward podcast company that has already expanded into realms like advertising and live events.

If TikTok notables like Alix Earle and Madeleine Argy are going to become podcasters anyway, the platform itself might as well get in on the fun. And since there’s a growing link between podcast production and marketing dollars, TikTok can add another advantage for itself as it looks to promote its Shop during the upcoming holiday season.

Jonathan Chanti says his new venture has “assembled the Avengers” of brand, media, marketing, and talent

Digital industry veteran Jonathan Chanti describes his new business, Reign Maker Group, as a “constellation” of subsidiary companies that have diverse specializations, but share one core goal: connecting brands with both digital and traditional talent.

“Based off what we’ve seen in the business of marketing and creators and talent, there’s a big opportunity, and that big opportunity is canvassing two sides of the business at once,” Chanti tells Tubefilter. “That’s what Reign Maker Group is doing.”

Reign Maker Group, which former Viral Nation Talent President Chanti got off the ground in July with co-founder Brad Morris, currently comprises four arms:

  • The Now Agency: An “expert-led influencer marketing firm and social media agency helping organizations adapt, engage, and thrive in the new media landscape,” per Reign Maker Group.
  • Reign Maker Talent: “Holds, manages, and provides strategic direction, shared capabilities, and infrastructure to its operating agency brands. A strategic offering for managers to build their business while leveraging the benefits of a scaled network of qualified managers and industry leaders.”
  • Regatta Brand Partners: “In service of brands and agencies who are navigating the complexities of working with celebrity talent, creators with influence and brand collaboration to streamline the execution process for culturally relevant and mutually-beneficial partnerships.”
  • and last but not least, the Creator Rep Institute: The “educational and professional development arm of Reign Maker Group, the Creator Rep Institute is our premier three-month training program for the next generation of creator managers.”

It also just secured a partnership with the Beverly Hills-based Paradigm Talent Agency that will play a key role in helping it build digital creators’ careers offline, and traditional celebrities’ careers online.

All of Reign Maker Group’s subsidiaries combine so the holding company can offer services on both the “buy” and “sell” side of creator-first and social media marketing, Chanti explains.

“On the buy side, we look at influencer strategy and execution, and we also look at traditional talent, entertainment, and marketing as being crucial for the future of brands having a place where they can get resources to do it effectively,” he says.

As for the sell side, “We truly look at talent as a pyramid,” he says. “At the top, you have your traditional A-listers, you have your chefs, your athletes, people who are household names with meaningful IP. And that’s where Paradigm comes into play, in the sense that in the middle and below [A-list], you have this entire world of massive opportunity, with creators who are looking to move up the ranks and into traditional services.”

An example, he says, is “a new food creator who has the ability to become the next Bobby Flay.” In that case, “We want to partner with Paradigm on the TV show, the book deal, the venture opportunity.”

On the other hand, “When Paradigm has a celebrity that’s a well-known name with a high social following but doesn’t have quality [digital] content, we want to partner with them to turn those people into digital creators the way we know how to do it, so they can start tapping into the digital ecosystem they’re not currently getting access to.”

This ability to build both digital and traditional celebrities extends to building brands, too, Chanti says. This is Regatta Brand Partners’ forte.

“Talent as a strategy is its own beast in its own world,” he explains. “Brands are now realizing that influencer is more of a media vessel and and a tactic, and brands are looking for people who are experts in helping them navigate the talent landscape to understand what makes sense for talent ambassadorship and why.”

Picking the right creators “can truly shape the entire narrative of what a campaign looks like and how a brand enters the market,” he adds. That’s why a core component of Reign Maker Group’s strategy is getting creators involved at the early stages of campaign planning and having them act almost as creative leads–a contrast to the current model, where brands conceptualize a campaign, then tap talent to participate.

Managers also aren’t left out: Reign Maker Talent is “introducing a real estate model to the world of representation,” Chanti says, where it will “underwrite” a manager’s initial stab at going solo.

“If you’re afraid to leave an agency or another group that’s representing talent, and you’re afraid of the entrepreneurial risks that come with starting your own business, not having money in the first few months of getting things off the ground, we will underwrite you to start your own business here, and we’ll partner with you,” he says. “Now we have a destination for those amazing managers at big agencies who are at the point in their career where they’re like, ‘Hey, I’ve built it, I’ve done it, but do I really want to be on the hamster wheel at this place for the rest of my life, making everyone else around me rich?'”

Ultimately, Chanti thinks Reign Maker Group could be “a new chapter” for creator marketing.

“Things are changing. We are here, and we’re here to come after what we believe is our opportunity in this space. We should be taken very seriously, and so should what we’re bringing to the space, because we’re already doing phenomenal business,” he says. “We’ve been very fortunate to gather the relationships we have and the partners we have at a very early age, and I think that’s a testament to the team here. We’ve done a really good job of assembling the Avengers of the industry across a lot of different verticals, and the reason they’re here is because they know that this needs to happen in order to truly drive the impact brands and talent need for the long run.”

How early is too early for holiday ads?

The idiom “Christmas comes early” describes joyful situations that arrive sooner than expected, but in 2025, advertisers are learning that premature holiday celebrations don’t always bring universal happiness. You may have noticed that holiday-themed ads are arriving on your screens earlier than usual, and the ongoing inflation of the Christmas season has left some consumers exasperated.

Traditionally, the U.S. holiday season ramps up after Thanksgiving, when radio stations switch over to festive music and consumers line up to get Black Friday deals on gifts. In recent years, however, Yuletide cheer has encroached into parts of the calendar that were previously reserved for autumnal celebrations. Some of those aforementioned radio stations are now switching to Christmas songs as early as October 7.

Another clear example of “Christmas creep” can be found in the U.K. For British consumers, the department store John Lewis is closely associated with holiday shopping. The chain’s seasonal ads tend to premiere with much fanfare and can even be used to illustrate prevalent media trends.

In 2025, John Lewis dropped its annual Christmas ad on November 4. It’s only the second time — following 2021 — that the retailer has dropped its seasonal spot so early.

There’s a simple explanation behind all this Christmas creep: Brands that command user attention as early as possible tend to convert those impressions into sales. That’s also why Super Bowl advertisers ruin their surprises by putting their spots on YouTube before the game.

“The advertisers are just trying to cut through the clutter,” said Michael Davis, a Professor at the SMU Cox School of Business, in an interview with CBS News.  “With the attention comes the dollars. It’s a tough economy out there in a lot of ways these days. I think the kind of downer message here is retailers are really worried that this Christmas season is going to be down, and they’re trying to get as much money in the cash box as soon as they can get it.”

That sense of economic insecurity has informed several prevailing marketing trends. Brands want to make the most of their budgets, so they’re trying to preempt their competitors. And if a Christmas ad uploaded to YouTube in October gets millions of views before rival commercials have even premiered, that’s an added bonus.

There’s a clear logic here for advertisers, but some consumers have had enough. Some of them are cheering the takedown of premature Christmas decorations, while others get anxious about what Christmas creep represents. “For adults, it is possible that earlier and earlier starts to Christmas marketing amplify time pressure and a sense of stress,” Liverpool John Moores University Professor Ruth Ogden told the Daily Mail. “It’s easy to see how you could feel like life is speeding by if, as soon as you finish the summer holidays, it is immediately the run–up to Christmas.”

Christmas creep may be nothing more than a simple strategy favored by opportunistic brands, but it reflects a bigger issue that currently consumes the ad world: The disconnect between what advertisers want and what consumers want. It’s how we’ve ended up with uncapped ad frequencies that torture repeat viewers and inflated view counts that strip away valuable context in favor of bigger numbers. Holiday advertisers may feel that earlier is better, but they can’t ignore the feelings of their customers — unless they want to go the way of the Sega Dreamcast.

In sweeping study, 89% of creators claim to lack access to specialized mental health resources

For years, creators have sounded the alarm about the pervasive mental health issues they deal with in their line of work. Problems like burnout, unhealthy fan relationships, and AI-related anxieties continue to affect creators years after they were first identified.

That concerning trend spurred Creators 4 Mental Health into action. The initiative led by What’s Trending host Shira Lazar has already provided its partners with valuable mental health services and other benefits. Now, to characterize the full scope of the creator mental health crisis, Lazar’s outfit teamed up with Lupiani Insights & Strategies to publish a dataset described as “the most comprehensive study to date on the mental health of digital content creators.”

The Creator Mental Health Study came together thanks to support from several sponsors, including Opus, BeReal, Social Currant, Statusphere, and The AAKOMA Project. Empowered by those backers, the researchers surveyed 542 full and part-time creators across North America.

As you might have surmised, the results of that survey are harrowing. 62% of respondents said they experience burnout, while 69% of them admitted that they obsess over the performance of their content. These issues become more common for creators who have been active for at least five years. A whopping 89% of the surveyed individuals claimed to lack access to specialized mental health resources and benefits — a problem Creators 4 Mental Health is actively attempting to solve.

“Creators are not just influencers — we’re small business owners, entrepreneurs, and digital gig workers building a new economy,” Lazar said in a statement. “We’re doing the work of entire teams without the protections traditional workers receive. If this is the new workplace, mental well-being can’t be an afterthought — it has to be part of the foundation of this industry, with real support and care as it grows.”

“It’s important that we keep shining a light on mental health in the creator space,” Conor Eliot, Head of Creator, Event, and Co-Marketing Partnerships at Opus, adds. “Creators often live a unique lifestyle that brings challenges like loneliness, the pressure to constantly perform, and the blurred line between personal and public life. Conversations like these help us move toward building resources and spaces where creators can feel seen, supported, and connected.”

Sadly, the creator mental health crisis is too big for any organization to handle on its own. 10% of survey respondents said they have had suicidal thoughts related to their work. That’s twice the U.S. adult rate provided by the NIMH. Recent creator deaths by suicide, including those of Mikayla Raines and Misha Agarwal, have highlighted the pressing need for more resources that can assist creators who feel hopeless.

What might those resources look like? While there is room for specialized solutions, there is also a correlation between a creator’s career outcomes and their mental health condition. 58% of respondents said their self-worth declines when their content underperforms, and 69% reported financial insecurity as a result of their work. That status has been associated with deleterious mental health outcomes.

With a problem this widespread, there’s no single “silver bullet” that can clear up the concerns. Through a mixture of safety nets — including explicit mental health resources and more generalized business tools — the creator industry can support the individuals who need it most.

 

Opus is a Tubefilter partner.

Own an IP? Roblox now lets you license it to game developers en masse–and share the revenue from their sales

In July, Roblox beta-launched a licensing initiative that gives the thousands of developers on its platform permission to make games based on top IPs like Squid Game, Stranger Things, Twilight, and Saw. Since that launch, creators have made over 1,500 games based on licensed IPs–some of which have been played billions of times.

With that response, Roblox is taking the initiative from beta to full public launch, giving all IP owners the choice to allow developers to make games based on their properties.

“We wanted to unlock IP licensing at scale between Roblox creators and IP holders in a way that is simple, streamlined and customizable,” Greg Hartrell, Roblox’s Senior Product Director for the creator/content ecosystem, told TheWrap. “You just need one superfan creator who can make something their own and will bring their passion and personal experience into their creation, powered by branded IP.”

“For these creators, we seek to enable creation of anything, anywhere, by anyone,” he added. “A critical ingredient is making content based on intellectual property.”

During the initiative’s beta, IP partners included Lionsgate, Netflix, Sega, and Kodansha. Lionsgate, which owns Twilight, added more properties around Halloween, including Blair Witch, The Strangers, and Fall. Roblox expanded the program slightly in October to include Mattel, which licensed its classic IPs Monster High, Polly Pocket, and Street Sharks.

Roblox tells us that so far, standout games from the programs include Blue Lock: Rivals (based on the anime of the same name; it launched before the initiative’s official start but was wrapped in early) with 4 billion visits; Squid Game-based Ink Game, with 2.6 billion visits; and The Squid Game, with 1.6 million favorites.

While not all games will see that kind of traffic, the obvious upside for game devs here is that they can make a title tied to established IP–and that tie will likely get them more views/plays based on name recognition alone. As for IP owners, they get user-generated content tailor-made for their properties without any oversight or involvement, and get a share of the revenue games generate. (Per TheWrap, that share is typically between 10% and 25%.)

Roblox says with this expansion, it’s now accepting all sorts and sizes of IP owners, “from major studios to brands with registered IP.” It does specify that owners need to be “eligible,” but the only publicly available eligibility requirements are that IP owners must actually own the IP they’re claiming, and must provide “the necessary proof of ownership, and a letter of authorization to offer licensed use of your IP.”

As we wrote when the initiative launched, this program is a layer of protection for transformative works on Roblox, and has more favorable revenue split terms than, for example, YouTube’s Content ID program, which takes all revenue from a video and deposits it in the IP owner’s hands, discouraging fans from making content about properties they love.

By financially incentivizing game devs to create content around licensed IPs and giving them legal protection to do so, Roblox is making itself an appealing destination for fan creators. And if there’s one thing our $250 billion industry runs on, it’s fan passion.

The Timothee Chalamet lookalike contest put a fresh spin on virality. Its organizer is launching an agency.

Have you heard the news? Virality is dead.

So claimed The New York Times in a recent thinkpiece. The Gray Lady isn’t the only publication beating this particular drum. The Washington Post published similar ideas last year, and there seems to be a growing sentiment that virality just isn’t the same force it was during earlier days of the internet. Instead, the concept viral marketing has come to represent people who are out of touch with the current state of internet culture.

But according to a pair of intrepid entrepreneurs, rumors of viral marketing’s death have been greatly exaggerated. Anthony Po, the creator known on YouTube as Anthpo, and Talia Schulhof, a creative producer who has worked for MrBeast, are the Co-Founders of a new creative marketing agency called Pufferfish.

Though the Anthpo channel has nearly two million subscribers, its eponymous host is best known for a contest he didn’t even participate in. Po was the principal organizer of a Timothee Chalamet lookalike contest that went viral (there’s that word again) in October 2024. The irreverent competition took the internet by storm and continues to reverberate more than one year after its completion.

With Pufferfish, Po and Schulhof — who met in 2023 while they were both working for MrBeast — are out to prove that they can turn one-off stunts like the lookalike contest into a calculated, consistent marketing strategy. “We have a finger on the pulse of what it takes to go viral,” Schulhof told Business Insider. She explained that Pufferfish’s brand clients will be able to operate at “the pace at which the internet is moving.”

Po’s ode to one of America’s finest young actors helps explain how Pufferfish will measure virality. In a cultural moment dictated by Gen Z consumers, the Timothee Chalamet lookalike contest had all the right ingredients it needed to blow up. It was one part aura farming and one part celebrity worship, and one part good old-fashioned internet-age silliness. The persistent cultural appeal achieved by the winning lookalikes proves that Po and Schulhof’s interpretation of virality can last for a lot longer than 15 minutes.

Post-Chalamet, Po provided a more direct proof of concept for his agency when he worked with Crocs to pull off an ambitious stunt that involved putting ugly shoes (sorry, Crocs lovers) onto the feet of statues across New York City. Now, he wants to concoct attention-grabbing stunts on behalf of other companies.

At the end of the day, Po and Schulhof’s creative backgrounds and Gen Z bonifides may be the key to Pufferfish’s success. Creators who become entrepreneurs are set to control the future of the creator economy, and the Pufferfish founders are perfectly positioned to be the Lisan-al-Gaib to their industry’s Fremen.

Top 50 Most Subscribed YouTube Channels Worldwide • Week Of 11/09/2025

[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by GospelStats. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]

Scroll down for this week’s Tubefilter Chart. 👇


For the second week in a row, MrBeast is sharing the #1 spot in the Global Sub Top 50 with another channel. Last week, Jimmy Donaldson chopped the pot with Vlad and Niki; this time out, the family vlog is further down the ranking, but MrBeast’s longtime rival is not.

T-Series and MrBeast both led the way by adding one million new subscribers during the first full week of November. It’s fitting that the two channels with the most subscribers of all time are also the fastest-growing channels of the moment. Sometimes, the old becomes new again.

What does an extreme sports video look like? Depends on who you ask.

On YouTube, there is a long history of videos that reach the top of the viewership charts by depicting boundary-breaking athletes at work. That’s how we got iconic videos like Red Bull Stratos, the People Are Awesome oeuvre, and the extreme stunts performed by Devin Super Tramp.

One of the names included in that list — Red Bull — is still a big name in both the extreme sports and YouTube content worlds. Years after it first soared to the pinnacle of YouTube, Red Bull is still adding new subscribers at a significant rate. It claimed the 50th of the Top 50 spots by adding 300,000 subscribers in a week, bringing its lifetime sum up to 26.2 million.

Data via Gospel Stats

Red Bull never really stopped making extreme sports videos, so what trends are responsible for its recent uptick? The clearest theory is that action-packed content is changing. It’s becoming more palatable for the short-form audience, and while Red Bull’s videos might look a little different from the other extreme sports videos on Shorts, the venerable energy drink brand is seeing its boat float upward in the rising tide.

As for the short-form videos that are competing against Red Bull? Well, we’re not talking about Storror anymore. Instead, let’s refer to a Russian creator named Vlad Samokatchik, who strips away the polish you’d expect on a Red Bull or Storror video, leaving viewers with a quick-hitting jolt of sporting action.

Vlad’s most-watched Shorts clip, for example, alludes to the “challenge” format that is popular on YouTube Shorts. The titular creator asks a young boy to destroy scooters in exchange for rubles, but the boy seems more interested in popping sick tricks.

Another one of his top videos, in which he attempts to use compact discs as scooter wheels, also blends extreme sports with YouTube challenges. Viewers have taken to this format: During the first full week of November, Samokatchik added 420,000 new subscribers, bringing his lifetime total above five million. His gains were big enough to push him up to 14th place in the Global Sub Top 50.

If you’re used to watching Red Bull videos, Samokatchik’s blend of skatepark action with YouTube silliness might seem jarring. But believe it or not, this is what popular YouTube content looks like on YouTube these days: Shorts has become a genre-bending, challenge-making thrill ride, so hop on your Razor scooter and join the fun.

Channel Distribution

Here’s a breakdown of the Top 50 Most Viewed channels this week in terms of their countries of origin:

  • United States: 18
  • India: 11
  • Australia, Canada, Pakistan, and Spain: 2
  • Argentina, Austria, China, Egypt, Hong Kong, Malaysia, and Russia: 1

This week, 40 channels in the Top 50 are primarily active on YouTube Shorts.

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Top 50 Most Viewed YouTube Channels Worldwide • Week Of 11/09/2025

[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by GospelStats. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]

Scroll down for this week’s Tubefilter Chart. 👇


Double Date lost 9% of its YouTube traffic week-over-week, but that decline wasn’t significant enough to keep the Australian couple channel out of the #1 spot in our Global Top 50 ranking. With the powers of Cadel and Mia and Jasmin and James combined, Double Date racked up 1.74 billion weekly views during the first full week of November.

The 11th month has also been kind to channels that translate cultural phenomena for distribution around the world. Here are some insights related to that trend:

Globalization is shaking up YouTube Shorts

Thomas Friedman famously wrote that the world is flat, and that idea is showing up on YouTube Shorts in a big way. The home countries of Top 50 channels don’t always tell the whole story, since those hubs are sometimes devoted to international translations that port popular short-form uploads from one language to another.

There are recurring routes on which these cultural commodities often travel. Asian countries that are well-represented on Shorts, such as South Korea, India, Japan, and Vietnam, often find their exports targeted for translation. When the channels from those nations are trading in universal themes like family, morality, and technology, they’re even more likely to reach another region’s YouTube viewers.

Slick Slime Sam is one of the channels that has found success through this cross-cultural process. The videos that show up among the Slick Slime’s most popular uploads do not appear to be produced in the channel’s native home of Thailand. Instead, they feature a specific, colorful style that is associated with kid-friendly content produced in former Soviet republics like Kyrgyzstan and Kazakhstan.

https://www.youtube.com/shorts/jT1XRb8fccU

Slick Slime Sam, indeed — while I’m pretty sure the (English translation) of the Thai channel’s handle refers to the hub’s ameboid mascot, this particular strategy is indeed slick and crafty. Without doing anything other than repurposing content that was originally intended for a different culture, Slick Slime Sam made its first appearance in the Global Top 50, breaking into the charts in 49th place. With 375.3 million weekly views, the channel brought its lifetime YouTube tally close to ten billion.

This strategy is hardly a one-off thing. In fact, it’s showing up across our Top 50 ranking, with many channel owners learning that the videos that work the best in one country can in fact work in any country — especially when young children are the intended audience.

You would think, for example, that a channel called Korean drama production would hail from the peninsula mentioned in its name, but no. The titles of its most popular videos are in Hindi, which suggests that a creator in the Indian subcontinent is paying attention to the premier pieces of family media coming out of East Asia. If viewers are concerned about the confusion, they’re not showing it: Korean drama production has been on the up-and-up of late.

Data via Gospel Stats

As YouTube continues to diversify its set of linguistic tools, we’ll probably see more channels like these in our charts. The potency of this trend reflects the world we live in: For as much as people may claim that YouTube is American-centric, the Asian family channels may be the ones who are truly dictating the platform’s culture.

Channel Distribution

Here’s a breakdown of the Top 50 Most Viewed channels this week in terms of their countries of origin:

  • India: 20
  • United States: 10
  • Australia, Canada, Pakistan, and Türkiye: 2
  • Austria, Bangladesh, China, Egypt, Germany, Hong Kong, Indonesia, Russia, South Korea, Taiwan, and Thailand: 1

This week, 40 channels in the Top 50 are primarily active on YouTube Shorts.

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“I’m a neurotic gay Jew. I’ve been funny my whole life.”: Max Cohen on becoming the internet’s favorite Murray Hill Boy

Max Cohen was tired of scrolling. Like many people, COVID lockdowns and the ensuing rise of short-form digital content had him spending more time on his phone than ever. And while he found some content and creators that sparked joy, others weren’t hitting.

“I think what drew me to making videos was seeing other people do videos that I thought I could do better,” he tells Tubefilter. “There’s so many guys who just prop their phone up and start talking. And I was like, Wait a minute, I can do that. Anyone can do that.”

It was a “Why not me?” situation, he says. On top of that itch, he realized the scrolling was beginning to genuinely exhaust him. “It’s a very tiring cycle to constantly be consuming media,” he explains. “I find it a lot more energizing, refreshing, and rewarding to create as well, and not just consume.”

There’s also the fact that Cohen was gearing up to go to law school, but realized while working as a paralegal and studying for the LSAT that he was “miserable.”

“I was not creatively fulfilled. I did not want to pursue a career in law whatsoever,” he says.

@murrayhillboy Happy Yom Kippur and Easy Fast – from me and Bagel Boss Roslyn❤️🥯☕️ #longisland #roslyn #bagel #longislandmom #yomkippur ♬ original sound – Max Cohen

His first TikTok videos, posted in January 2024, were an attempt to find that fulfillment. He started with mostly unscripted improvs, like one where he does a POV of some dude hitting on you at a bar, but later drew on his background to create a commanding and meticulous Long Island Jewish mother many will recognize (especially in this leadup to the holidays). His first mom video got 3 million views on TikTok and Instagram, and unlocked a “whole side of my following,” he says. From that moment on, he knew he had something.

Now, just under two years later, Cohen is a full-time creator with a full-time assistant, a manager, and an agency. As @MurrayHillBoy, he has 155,000 followers on TikTok and 166,000 on Instagram, has signed with Viral Nation, and has taken his comedy onstage with a stand-up tour that’s so far hit Detroit and Columbus, and will be coming to the Jewish Federation of Indianapolis Nov. 13, Temple Judea in Manhasset, New York on Jan. 7, and Temple Beth Rishon in Wycoff, New Jersey Jan. 8.

For Cohen, his digital content, stand-up, and future projects in the works are all about sharing his story–a story that’s inextricably intertwined with being Jewish, being gay, and being alive in our current world. If there’s one thing he wants to do, it’s make people laugh. And, judging by his ever-growing following, he’s doing exactly that.

@murrayhillboy it’s like packing for camp on steroids #college #collegedorm #dormroom #collegelife #frat #sorority #jewish #jewishtiktok #jewishmom #weirdboymom #longisland #collegemovein #murrayhill #sleepawaycamp #parentsoftiktok #greenscreen #dorm ♬ original sound – Max Cohen

Tubefilter: Let’s start basic. Pretend I don’t know anything about you. Where are you from? 

Max Cohen: I’m from Long Island, South Shore. That’s the poor part. I lie and say that I’m from the Five Towns, that’s the Jewish part, but I’m actually from the town next to the Five Towns, East Rockaway, known as the sixth town. But to make a very long story short, I’m a New Yorker.

Tubefilter: When did you first start getting into comedy?

MC: I first started getting into comedy. I mean, listen, I’m a neurotic gay Jew. I’ve been funny my whole life, you know–and humble as well! But I first got into comedy accidentally. I graduated from college in 2022 with a major in English. And I was working as a paralegal at a law firm with plans of going to law school. I was studying for the LSAT and I was miserable. I was not creatively fulfilled. I did not want to pursue a career in law whatsoever. So as a creative outlet and an escape from a job that I wasn’t happy at, I started posting silly videos online that would eventually blossom into the career I currently have. And I guess, you know, I kind of stumbled into comedy accidentally.

Tubefilter: When did digital content enter your atmosphere? What drew you to making videos?

MC: I mean, I think I was the same as everybody else. At some point in time, we just started spending more and more time on our phones–and, you know, more hours scrolling on Instagram, scrolling on TikTok. And I think what drew me to making videos was seeing other people do videos that I thought I could do better. There’s so many guys who just prop their phone up and start talking. And I was like, Wait a minute, I can do that. Anyone can do that.

So it was just sort of like a “why not me” type of situation. And I think it’s a very tiring cycle to constantly be consuming media. I find it a lot more energizing, refreshing, and rewarding to create as well, and not just consume.

Tubefilter: What was your first platform? What platforms do you use these days? Which do you prefer?

MC: My first platform was TikTok. I think TikTok has a very casual connotation to it. People like to use random usernames and random profile pictures, so it was a way for me to sort of separate myself from the videos I was making. I also didn’t necessarily want everyone in my life to find my videos.

I’m currently now on YouTube, Facebook, Instagram, and TikTok. With my larger followings being both on TikTok and Instagram, I think I now prefer Instagram. The algorithm on that app is just so much more consistent. And when you’re someone who’s like me doing sketch comedy, I’m putting hours and hours into every video, so it can be really frustrating on TikTok when, for reasons that are unclear to me, a video doesn’t perform as well as some others. So I would pick Instagram for the algorithm.

That being said, I think the TikTok comment section can sometimes be funnier than Instagram. There’s just a different type of humor there, and I think the comments on TikTok are a form of media on their own. But I definitely got my start on TikTok and now gravitate more towards Instagram.

4. How did your account(s) first start growing? Was there a particular video that took off and really started attracting a new crowd of viewers? What (if anything!) have you done to consciously grow your following since then?

MC: I think my videos first started going viral because I was just being authentic. I was doing very little editing. I was not scripting anything beforehand. I was just propping my phone down and spewing some thoughts. There were probably two videos that were large turning points for my follower count at the start of my content creation journey, one of which was like the seventh video I ever posted, which was “POV, the worst guy at the bar comes up to you.”

This was after a long day of work, I put on my disco lights that me and my roommates would use and propped my phone up in my living room. And I did a one minute, 40-second unscripted improv of just a guy at a bar hitting on you, the viewer. That got like 1.3 million views. So that was a big part of me having confidence in what I could do and really believing in my own comedic and improvisational skills.

That was January 14, so a bit later on in April, I did my first like Jewish mom video, which again was completely off the cuff. Me just being myself with my friends, kind of making fun of all of our moms, making it up as I go. I threw on some weighted bracelets that my mom uses on her walks. Another really long video, very little editing. That got around 3 million views on Instagram and on TikTok. So that sort of grew my whole Jewish mom character and that whole side of my following. Previous to that moment, I mainly had a following of post grad guys and girls as well.

OK, we gotta hear about the name. What’s the significance of “Murray Hill Boy”?

MC: For those who may not know, Murray Hill is a neighborhood in Manhattan. It is commonly thought of as 1st Avenue to Park Avenue, and from 28th Street to 40th. It’s a very small area, and it is primarily composed of recent college graduates from schools across the country and many across the northeast. Many of its residents are tri-state area or tri-state area-adjacent people. It really is this like safe haven and little community for recent college graduates to find each other while still living in the city.

I was living in Murray Hill at the time that I created my account, and I, of course, am a boy. So in an effort to maintain my job and my law firm, I decided to make my username “Murray Hill Boy” as a little bit of an alias and also a little bit of a clue into what my content would be about. And it just sort of stuck. Now I think it’s kind of become larger than just the physical location of Murray Hill, but it speaks to sort of this culture of this post-grad, not fully an adult life that I and many others are currently living through.

You’ve been in a run of doing lots of live shows (congrats!), many of them at Jewish venues. Can you talk a little bit about the culture behind your comedy? How does your background and family life inform your material?

MC: Listen, I am who I am. I’m very proud of who I am, whether it’s the fact that I’m a New Yorker or that I’m gay, or that I’m Jewish, you know, all the different fabrics of my life weave their way into every video I make, whether I want them to or not. Oftentimes, it’s honestly done unintentionally. My culture and my comedy are inextricably linked.

A lot of what I do as a content creator is be a sponge. I’m just soaking up the interactions and the personalities around me, and then I’m sort of spitting them back out in this overexaggerated, comedic way. So whether that’s my family or my friends–who, all of which happen to be Jewish, that is sort of what I’m poking fun at. But of course, in a loving and respectful way.

When my live shows first got started, the first sort of people to reach out were temples, synagogues. I, of course, wanted to do a show that was aligned with what the people attending the event wanted to see. I now do a lot of different teen organizations. I also perform at colleges. So my comedy show varies based on who my expected audience is, but Jewish people have always been funny. I think we resort to humor and comedy to get us through tough times, and I am no exemption to that rule.

How much does editing play a part in your videos? Are things scripted now, or more spontaneous?

MC: I film myself as all of my unique characters and then spend hours and hours editing and splicing those videos together to A, make an interesting story, and B, adhere to the attention spans of the viewers on these social media apps. People are scrolling through your video, likely while they’re doing something else or while they’re bored, so getting them to watch your video to the end is an incredibly difficult task. 0.1 seconds of downtime, somebody’s gonna scroll over the next video. So a lot of my time per video is spent editing, making sure that it is engaging a hundred percent of the time throughout the whole video so that nobody scrolls past it.

Regarding spontaneity. I do think that some of the funniest moments of the videos that I film are those improv moments, are those added-in-last-minute things that just sort of come with really living in the character and getting into the situations enough that you sort of naturally develop a typical response somebody would have not just reading off the script.

In that same vein, how does drafting new comedy material work for you? Do videos play a part in that, or are they two separate pursuits? (Like, for example, if you come up with a joke for a video, will that joke later appear–maybe even in expanded form–during a live show?)

MC: I think they’re very connected. I’m well aware of the fact that when people are coming to see me do a show, it’s because they’ve grown to love the content I’m putting online. So I want them to feel like they are getting the experience they were expecting to have.

Here’s what it comes down to: Both the content and the live shows are pulled from my real life. So I think the unifying link there is my real life experiences–the fights I get in with my parents, the fights my friends get in with their girlfriends. The content and the live shows share a lot in common because they’re both based on my real life. I think no matter what I’m doing, whether online or in person, the goal is to always be authentic, be real, and tell a true story, which is my story.

When did you sign with Viral Nation? What’s changed since then? What guidance/assistance have they been able to give you?

MC: I signed with Viral Nation in December of 2024. I went full-time with my content in July of 2024. So just about six months into that journey. So much has changed since then. I think so much would’ve changed with or without them. That’s just the nature of growing a platform, the more followers you have, the more at traction you build, the more of a community of fans you can create, the more opportunities are presented to you.

But Viral Nation has really been crucial in navigating the business side of things. When I started doing content, I didn’t have a clue what a brand deal looks like or how that process should go. And before I signed with them, I was negotiating brand deals on my own, and unfortunately really undervaluing my service and the work that I provide. So I think they helped me financially to sort of raise my rates and be able to make this a full-time career. They also put me in contact with my talent manager, who has phenomenally transformed my career.

Viral Nation has given me a lot of guidance and assistance about, for lack of a better word, show business. What these larger brands are expecting from a brand deal, what a going rate is for a creator of my size…I think when you’re a content creator, you’re very alienated, you’re very isolated, you don’t have coworkers. There’s not really anyone to bounce ideas off, and there’s not anyone to ask like, “Hey, how much do you charge for a brand deal?” So I think being part of an agency that represents other content creators besides yourself from all varying walks of life sort of helps to place you within a group of your peers and be able to provide you with viable information about what your worth is. Because I think when you’re on your own, people have a tendency to really undervalue the services and goods they’re able to provide.

Do you consider content creation your career? When did you know it was going to be a serious pursuit for you?

MC: I am a 100% full-time content creator. I also have hired a full-time assistant. I also have a manager and agent and agency and an accountant. So yes, this is very much full-time. I quit my job six months after I made my first ever video. And at that point I had only made money from content for two months in a row, and that was enough for me to chase the dream. So I would say, you know, since I quit my full-time job to do this, that was sort of the turning point where I realized this was going to be a legitimate career for me.

But honestly, I’m not in it for the money. I just needed enough money to be able to support myself. I love doing this because it is fulfilling and creative and is something that I enjoy doing. I like making people laugh. I like bringing joy to people’s feeds on their phones that sometimes are otherwise lacking it. So yeah, I’ve been all-in on this as soon as I was able to monetize it, which luckily for me–not luckily, ’cause I worked for it–but “luckily for me,” happened very quickly.

What else have you got going on outside of content and comedy? What’s life like these days?

MC: There’s always a thousand things going on. I’m navigating doing just about one live show per month. I’ve got brand deals going on. I’m putting out multiple videos a week. I’ve just moved to New York City out of my parents’ house, which I am elated about and I’m so excited to get back into the swing of things, the context there.

Being that I lived in Murray Hill for two years, when I went full time with the content, I moved back with my parents. Now I’m back in the city, so sort of just getting my feet wet in a new part of the city. I’m in the Flatiron/NoMad area, filling up an apartment, living on my own for the first time. God willing, finding a boyfriend. Not that God ever listens to me when I talk to him, but if he did, he would’ve sent me one by now. But yeah, just really flexing my muscles as a content creator.

And now that I have an assistant and I have my own space, I’m seeing the new level of videos that I can pull off. I think when you work for yourself, it’s sort of hard to not be working 24/7. So I wish I had a better answer for you of what I’m doing outside of work, but at least for now that 24/7 go-to is just making videos and making people laugh.

Any future plans? We know you’ve got some shows scheduled in January–what else is there to hype up?

MC: I’ve just launched my own merchandise. I currently have hats that say “FU Larry!”, which is the catchphrase of one of my iconic characters, Lisa Cohen. So I’m excited to continue pushing out that merch, getting people to buy it, and I’m very proud to say that 10% of the proceeds from those hats will be donated to Jewish on Campus, an organization which works to combat antisemitism across the country.

As you said, I have a couple of live shows coming up, and I’m just excited to keep taking my videos and keep taking my comedy to the next level. I’m not really sure exactly what’s next. I have three different creative endeavors that I really can’t share too much information on, but I’m very excited to see where those go. What I can say is they all involve the larger transition of making it off the phones and either into real life or into a larger screen–but again, I really can’t say too much on that.

I’m just looking forward to continuing to be myself, to be a proud New Yorker gay man and a Jew, and just continue doing what I love, which is making people laugh and sharing my story.

 

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MrBeast is opening his own theme park. It’s in Saudi Arabia.

Remember a month ago, when a lot of people got very angry at the celebrities participating in Saudi Arabia’s comedy festival because the Saudi government “facilitate[s] and benefit[s] directly from serious human rights abuses“?

Apparently MrBeast doesn’t, because he’s opening a theme park in Riyadh, the same capital city where the festival took place.

The theme park, predictably called Beast Land, isn’t going to be a permanent installation. It’ll open from Nov. 13 to Dec. 27, and features “custom games modeled after our videos that don’t exist ANYWHERE else and will have the world’s largest prize wall,” MrBeast (aka Jimmy Donaldson) tweeted. There’s also the usual rollercoasters and other rides.

Donaldson has built his multimillion-dollar empire on spectacle and interaction. His videos are about about eye-popping premises with click-grabbing amounts of participants and/or money. And, since he hosts so many competitions with tens, hundreds, or even thousands of people, including people he’s pooled from his viewerbase, there’s always the tantalizing, if distant, possibility that you, yes you, could win a million bucks by trapping yourself in a burning house for his next video.

All that is to say, we’re not surprised he’s expanding into a theme park that’s built to be equally grandiose.

Donaldson gave a few examples of park contents, including “this game called ‘Tower Siege’ where you load balls into real catapults and have to land them in these giant 60 foot tubes for points,” and a game called Drop Zone, where “6 people are standing on trap doors. A button lights up in front of each player and whoever presses it last, gets dropped. Last remaining gets the most points.”

In another game, Airmail, “you basically have to drop a weighted bag on to a target below. Closer to the middle, the more points you get.”

“I didn’t want this to be like a typical theme park,” Donaldson tweeted. “Thought of things from first principles and created games I would love to play! Tons of original games created plus of course we have rollercoasters and rides.”

We don’t know what the theme park will look like yet; the above photo is a digital rendering Donaldson posted, but no images of the actual park have been released.

Access to games and rides is paywalled behind higher ticket prices. You can technically get into the park for just seven bucks, but won’t be able to touch any games or rides. $25 will get you access to the games and three rides, and a $66 “Beast Mode+” ticket will let you do everything.

The response to Donaldson’s announcement included scrutiny over why he chose to set Beast Land in Saudi Arabia, given the country’s dismal record of human rights violations.

His justification? “[A] majority of my audience is outside America and we have a big middle eastern fan base [sic],” he tweeted, adding that he believes Saudi Arabia is in the “middle of the world” and that he wanted to “give them a chance to participate.”

Fact-checkers on X were quick to point out that Beast Land is actually part of a deal Donaldson signed with Riyadh Season, Saudi Arabia’s annual winter festival, back in May. Saudi Gazette reported the deal includes “introduc[ing] global attractions such as MrBeast Park and one-of-a-kind challenges debuting for the first time in Saudi Arabia. The partnership also includes MrBeast’s participation in the Season’s opening ceremony.”

“MrBeast has signed with Riyadh Season to produce exclusive content and present global experiences like MrBeast Park and major challenges launching for the first time in the Kingdom,” Turki Alalshikh, Chairman of Saudia Arabia’s General Entertainment Authority, tweeted at the time. “Riyadh Season is going to be different.”

While Donaldson is the only creator opening a theme park in Saudi Arabia, he’s not the only one to bet on a big destination for viewers. Unspeakable opened an adventure park called Bolder in Dallas in 2022, Chad Wild Clay and Vy Qwaint opened their Spy Ninjas HQ in Las Vegas in 2024, and trickshotters Dude Perfect are still planning to open a visitable, sports-oriented headquarters in Dallas sometime in the future.